Since antiquity, art has been used to inspire, influence, and direct the minds of its viewers towards its creator's aim. Yet within the canon of art, no motif can be said to be more persuasive than depictions of war and military encounters, which often had the power to subdue or inflame depending on how each artist chose to represent their subject. Whether through the creation of propaganda or in the act of documenting the realities of war, artists and patrons have sought to give their struggles voice and to create narratives which still live on today. On this account, both Diego Velázquez's Surrender of Breda and Fransisco Goya's The Third of May 1808 distinguish themselves- not only for their individually singular approaches to war in their own times but also by how they have shaped the overall artistic wartime narratives. When placed side by side, these works not only present two sides of the spectrum of war imagery, from the civilized engagement of The Surrender of Breda to the expressive violence in The Third of May 1808, but they also work to relate the changing shape of Spanish identity and artistic practice.

When looking at the visual history of the Greek civilization there is a distinct shift in the portrayal of form, from the stylized roots of the Mycenaean and Minoan traditions to the naturalism which took hold during the Classical Era. This can be seen when comparing the terracotta figurine Bell Idol, created circa 700 BCE¹, to the later classical work Bronze Statuette of Athena Flying Her Owl (herein referred to as Bronze Athena) which dates back to circa 460 BCE². Set apart by both time and location, originating from Thebes (Boeotia) and Athens respectively, both sculptures work to illustrate the evolution of Greek canon. Yet by examining these two pieces, it becomes clear that despite their divergences and stylistic range, both the Bell Idol and Bronze Athena share similar aspects which are illustrative of Greek cultural values.

Around 776 BCE, a number of city-states had emerged on mainland Greece. Though distinct cultural tenants set them apart, these competing city-states were united in their use of the Greek language. It is during this time that the first Olympic Games were held and served as a rallying cry for the recognition of a common Greek heritage which connected these states. From that point on, no matter what city-state they belonged to, the population also regarded themselves as citizens of Hellas (Greece) and a cultural nation was born. As Greek influence continued to grow and expand into the Ancient World through trade, colonization and conquest over the next few centuries, Greek art and society underwent a catharsis expanding in new ways and styles unseen before. The sculptures that ancient Greece produced during this era of Antiquity are still some of the most universally recognized forms of art throughout the world. Yet these works can be broken down into periods of evolution in which the Greeks perfected their craft over the course of several hundred years.

Sometimes all it takes is a thorough examination of the architecture and structures a society chooses to surround itself with to decipher the core values and concerns of that culture. When looking at the ancient world both the Mycenaeans and Minoans cultures prove illustrative of this point. Although they both served as precursors to the Greeks and showed signs of close ties in at least trade, the Mycenaeans and Minoan peoples differed vastly in how they approached trade, life and the creation of their culture. This is never more apparent then when comparing the remnants of the wandering grand palace of Knossos on Crete and the indomitable walls and ruins of the citadel of Tiryns located on the Greek mainland.